Wes Anderson’s The Grand Budapest Hotel

Don’t we all, in our inner minds, look at things strangely? That when you really minimize the noise, the pointless chatter, and get straight to the point, human life and living is absurd. This is how I saw The Grand Budapest Hotel. Wes Anderson’s characteristic and dark and funny film.

There’s humor in silence, in eye contact, in the little details that are just as striking as the actors themselves. The way this film is shot is very geometrically-centered so that the film gives off a naïve and trimmed impression. However, as the story progresses, you understand why, aside from Wes Anderson’s style of filmmaking and thematic structures, the frame is so crisp and pleasant to view. It’s because the lives within those walls are quite puzzling and unkempt.

The film’s versatility is hard to miss. It’s here that you feel the word ‘film’ as more of a verb than a noun. It’s an ongoing process that sparks a creative nerve in you. You want to understand those colors that stand out so magnificently in everything. The cinematography, set design, and dialogue offers continuous engagement. There’s no way you’re withdrawing from it. Take your eyes away for a second and you feel you’ve missed out on the world.

What the film is about is a paradox. It wrestles with everything that is not that different from our own lives. The angels and devils in our story are just well epitomized in Wes Anderson’s. In other words, what he does is give it a comical and profound exterior. With fascinating characters, a dreary motif, and above all, the transformed ordinariness of each and every element – the perfume bottle, the cake boxes, the birthmark, the fake mustache, the concierge’s desk – the film seeps into everything. Every frame is a photographic masterpiece. How else would you expect to experience a Wes Anderson film?